New releases this week: All genres

Notes: *** Firmware update (April 2025)- Engine DJ 4.3 ***

Support for Apple Music

Enjoy standalone access to 100 million Apple Music songs and over 30,000 expertly curated playlists. An Apple Music subscription is required
Enabling the Sync Library option in the Apple Music app on your computer enhances your music experience by giving you seamless access to your purchased, uploaded, and personal playlists.
Apple Music will be supported on the following hardware:
Numark Mixstream Pro +
Numark Mixstream Pro Go
Denon DJ SC LIVE 2
Denon DJ SC LIVE 4
Denon DJ PRIME 4+
Denon DJ PRIME GO+

All Engine DJ hardware will receive various other enhancements and improvements with this update.

ENGINE DJ DESKTOP

Various stability enhancements and improvements Engine DJ 4.3 will be available for download on enginedj.com or via Wi-Fi on compatible Engine DJ hardware. Apple Music can be unlocked directly on supported devices.


The Denon DJ PRIME GO+ packs high-end performance features and exceptional music streaming capabilities into an ultra-portable, battery-powered standalone DJ controller. Created for DJs on the move, the PRIME GO+ continues the journey of the legendary PRIME GO while adding access to even more music streaming options for virtually unlimited musical access

Robust streaming capabilities

Boasting a special DRM chip and built-in Wi-Fi, the PRIME GO+ can access over 100 million tracks across numerous streaming partners including Amazon Music Unlimited, TIDAL, Beatport, Beatsource, Soundcloud GO+, and Dropbox. Streaming tracks are buffered into the internal memory for rock-solid stability and flawless performances. DJs can also access saved music libraries and playlists on the PRIME GO+ by utilizing the SD card slot and USB input.

Capable connectivity

Small in size, but not in audio connectivity, the Denon DJ PRIME GO+ boasts a myriad of options for multifaceted DJs, including Bluetooth in and out for 100% wireless performances as well as professional grade wired connections.

Featuring balanced XLR outputs, 1/4" booth outputs, additional RCA Main out, RCA Auxiliary input, and 2 mic combo jack inputs, the PRIME GO+ has the flexibility to handle any gig, anywhere.

Powerful portability

With its compact size and rechargeable battery, the Denon DJ PRIME GO+ is the ultimate grab and go DJ device for any gig or destination mix session. No longer tethered to their desks or studios, this freedom allows DJs to prep, practice, and perform literally anywhere inspiration strikes.

Frequent feature-packed updates

Operating on Engine DJ OS, the PRIME GO+ receives exciting new DJ features with every update. With an ever-expanding suite of features like lighting control, standalone embedded sampler, Bluetooth in/out, Performance Pad Display, Touch FX, custom library Match filters, and more, Engine DJ continues to prove why it is the most powerful and versatile DJ operating system in the world. With easy, over the air updates using Wi-Fi, DJs are automatically notified on the device when and update is available, continually keeping them on the cutting edge of DJ performance technology.

In the box

Prime GO+
Power Cord
USB Cable
Sticker Sheet
Microfiber Dust Cloth
Quickstart Guide
Safety Instructions
SoundSwitch free trial offer card


Weight & dimension (product only)

Weight (lbs): 8.11 lbs
Weight (kg): 3.68 kg
Imperial (in): 16.2" W, 10.8" D, 2.1" H
Metric (mm): 411 W, 274 D, 53 H

Weight & dimensions (product only)
Weight (lbs): 11.27 lbs
Weight (kg): 5.11 kg
Imperial (in): 21.06" W, 15.35" D, 6.65" H
Metric (mm): 535 W, 390 D, 169 H

Notes: Standalone version of Enjoy's DeFeel module. Inspired by 'fill' effects found on old-school drum machines, the DeFeel is a unique approach to manipulating sequences, designed to 'degenerate the monotony' of rhythmic patterns, creating variations in real time.

Supplier's Notes:
With DeFeel Enjoy Electronics have redesigned and applied the Fill concept to make it usable in the world of modular synthesizers.

This device is designed to break the chain between the sequencer and everything that comes after it, allowing you to intervene at the right time and create unique variations.

A modular device that's not going to generate anything, but is created to degenerate the monotony.

DeFeel isn't about complex button presses or cryptic menus. Here, creativity reigns supreme. Design your rhythmic patterns with an intuitive touch. Simple lines and vectors come to life on the multitouch display, allowing you to experiment and craft unique sequences with remarkable ease.

With DeFeel, Enjoy Electronics offer musicians and performers a powerful and versatile tool to enrich their performances and compositions. With its intuitive programming, sleek design, and innovative translucent panel, DeFeel stands out as a unique device poised to revolutionize the way modular synthesizers are used and perceived.

Review: Blaque Dynamite is the work of Mike Mitchell, a drummer from Texas who has played with neo-soul queen Erykah Badu, and jazz legends old and new in Herbie Hancock and Kamasi Washington. He also makes challenging, defiantly original house music on his own and on top of a couple of albums worth checking from the last two years, comes this EP, which arrived late last year but now debuts on wax. It has a couple of short, sketchy originals that are lo-fi, low-key hip hop vignettes, while JT Donaldson and Stefan Ringer add their own more club-ready reworks. Ben Hixon & Blaque Dynamite also hot up for a remix that is all shimmering melodies and shuffling percussive rhythms.

Review: Forget the World is a psychedelic instrumental trio led by bassist-composer Marc Decho, who is based in Toronto, Canada, and known for his work with Afro-Cuban jazz pianist Miguel de Armas. Decho brings a fresh, genre-blending sound to the scene and this group blends a real gamut of vibes - 70s soul-jazz, alternative hip-hop, cinematic textures, dreamy LA pop, UK Bruk, Afro-Brazilian rhythms, classical and experimental electronica. Joined by James Hill on Fender Rhodes and synths and Marito Marques on drums, percussion and electric kalimba, their music is immersive and imaginative. It's mixed and mastered by Grammy-winner Helik Hadar and offers a great escape into a new world of awareness.

Review: US veteran JT Donaldson makes the sort of killer tech house that immediately makes you want to move. This time out the Dallas, Texas resident lands on Dolfin Records with a deeper sound that is raw and heavy. 'Choose' rides on knackered-sounding kick with just deft synth smears for company. 'Don't Sweat' has a double-time rhythm with sombre chords adding the soul and 'Want Her Around' gets the hips swinging with its lovely claps, muted, softly glowing sustained synths and lumpy deep house drums. Flipping the script yet again. 'Sunday Drive' is a more nimble and jazzy dancer and 'Take 2' is a sunny house sound with hints of Metro Area nu-disco synth magic and a big fat bassline.

Review: One of several debut singles by Khruangbin, 'White Gloves' sweltered in with a mellow sway that would soon become their calling card. 'White Gloves' rode a wistful bassline and slackened drums, built around a hazy guitar riff and Laura Lee's near-whispered vocal - "she was a queen" - as much lullaby as lament. As ever drawing from Thai funk, 60s surf and gospel, the track established Houston trio's knack for folding global references into something spare and dreamlike. Now again released via Late Night Tales offshoot Night Time Stories, it marked the start of their partnership with producer Steve Christensen, whose hands-off touch would help sculpt their fluid, lo-fi feel across their early run.

Review: Two popular tracks from the highly rated and MURO-curated compilation Diggin Victor: Deep Into The Vaults Of Japanese Fusion / AOR are now made available for the first time on their own standout 7". Originally released as a limited item at an anniversary event, these rare gems are magically escapist sounds that blend library music, jazz, soul and Balearic mindsets into a pair of tropical heaters. The Kumi Sasak A-side is a real melodic noodler with meandering bass and a whimsical, carefree spirit as it heads nowhere in particular in hypnotic fashion. Side-B has 'Kimono' by Tetsuo Sakurai, which is a more rhythmic sound with funky bass riffs and 80s broken beats and a lush vocal.

Review: Vintage Pleasure Boutique is bringing back a Eurobeat classic in Kim Taylor's iconic 'Say You'll Be Mine,' which was originally produced by Rob Van Eijk in 1987. This high-energy banger helped shape the Euro disco sound and became a cult anthem in LGBTQ+ club scenes across the US of A as well as in Japan. Everlasting version feature here from radio mixes to instrumentals, while remixes by Electro Potato, Chris Van Buren, A.P. Mono and Albiero alongside a rare 1988 remix all make this a vital 12" for fans of camp and colourful disco.

Review: Abba's self-titled third album marked a creative and commercial turning point for the group; released in 1975, it was their first full-length following the breakthrough historic romance hit 'Waterloo', and the moment they cemented a sound that would dominate pop for years. Packed with high-drama hooks and refulgent production, the album of course also includes 'Mamma Mia' and 'SOS', both early experiments in the theatrical, harmony-rich style that would define the long-form productions of Benny Anderson and Bjorn Ulvaeus. With newly remastered audio cut at half-speed by Miles Showell at Abbey Road, we've two new inclusions: kitsch singalong gem 'I Do, I Do, I Do, I Do, I Do' and glam-leaning opener 'So Long'.

Review: PAX-AM is the brainchild ofJacksonville singer-songwriter and author Ryan Adams, originally dreamed up during his high school years as a DIY cassette label for home-recorded genre experiments. Though those early tapes never left his inner circle, the name stuck. It's been a sandbox for Adams' prolific output ever since, blurring lines between alt-country, punk, classic rock and tape-hiss pop, all under his naive yet total creative control. Now, in homage to his favourite ever recording artists - many of whom you will likely recognise from the track titles alone here - Adams sings atop the altar, dirging covetously over the best of the Rolling Stones, Daniel Johnston, Bon Jovi, Oasis and Bob Dylan.

Review: Ladbroke Grove favourite AJ Tracey's highly anticipated third album arrives after a three-year hiatus and reaffirms his place at the forefront of rap. The record explores themes of ambition, resilience and living life to the fullest, reflecting AJ's journey from humble London beginnings to UK rap's pinnacle. Featuring viral hit 'Joga Bonito' and chart-topping track 'Crush' with Jorja Smith, who contributes two very different, equally stunning parts to that single, this is the sound of an artist who is still growing and joining his craft. His wordplay remains sharp and with and fuelled with fun cultural references and is sure to be heard banging from car radios, Bluetooth speakers and plenty in between all summer long.

Review: German mainstay Johannes Albert returns after a six-year hiatus with his third club album, Private Dancer, and it's worth the wait. As expected, it is a deep dive into refined house music full of maturing production, warm textures, subtle grooves and emotive undertones. The standout title track features longtime collaborator Iron Curtis, and together they craft a hypnotic blend of classic deep house with modern minimalism. Highlights include the gentle grooves and percussion of 'L'Chaim', the steamy nocturnal soul of 'The Night (Moves On' and 'Follow The Strings', which is a more punchy heater. It's the sound of a seasoned producer delivering understated dancefloor gold.

Review: Alien D is the NYC-based producer Daniel Creahan, and he's back with a debut on Theory Therapy that taps into widescreen worlds of techno immersion. Departing from the ambient abstraction of his previous work, this album as a subtle kinetic pulse with tracks like 'Soil Dub' and 'Sleepy's Gambit' propel listeners forward with dubwise rhythms crafted for deep dancefloors. The album builds on an infectious, steady groove with repeating phrases and subtle shifts that keep the music in constant motion. Conceived in the first days after the COVID lockdown, these sounds exude a hopeful quality and capture the transcendent moments of early-morning parties when the moment is full of unbridled hope for what might come.

Review: Deko reconsecrate Angel's debut LP on the band's formative 50th anniversary, coinciding with a fresh wave of tour dates from the theatrically inclined glam-prog rockers. Originally signed to Casablanca after being spotted by then-A&R Gene Simmons, the Washington, DC band's first album leaned heavily into lengthy, keyboard-drenched pomp, a sound more progressive than the tighter glam stylings that followed on On Earth As It Is In Heaven and Sinful. The lineup at the time included Frank DiMino, Punky Meadows, Gregg Giuffria, Mickie Jones and Barry Brandt, building stage staples like 'Tower'. On this limited blue-black swirl vinyl edition, we've liner notes from journalist Dave Reynolds and a small selection of bundles signed by the four surviving original members.

Review: The multi-talented Joe Armon-Jones is back in the game with his most ambitious and self-defined solo work yet. All The Quiet (Part II) is a colourful collision of jazz, funk, dub, hip-hop and soul that was entirely written, produced and mixed by the man himself. His work as part of Mercury Prize-winning Ezra Collective is what established Armon-Jones, but his evolution as a solo artist on his own label, Aquarii Records, has been just as essential. This follow-up to 2019's Turn To Clear View features collaborators like Greentea Peng, Yazmin Lacey, Hak Baker and Nubya Garcia and is a deeply personal sound that veers from expansive and cosmic to more intimate and tender.

Review: Thrumming with conceptual aplomb, jazz mastermind and Ezra Collective co-founder Joe Armon-Jones's new album All The Quiet is finally revealed to us. Residua of jazz, funk, dub, hip hop and soul abound on the second chapter of a two-part Aquarii Records release, which Jones founded. With guest features from the likes of Greentea Peng, Yazmin Lacey, Hak Baker and Oscar Jerome, the record complements Jones and Aquarii's stated mission to blend genres and cross stylistic streams, from atmospheric electronica to dub, while building and subverting tropes of apocalypse, prophecy and redemption.

Review: Writers will appreciate the double play on words no doubt, and trying to figure out who wouldn't get off on the Au Pairs is part of the brain teaser here. That said, the British post punk outfit only managed to peak at 79 in the album charts with this one, so clearly back in 1982 plenty of people either felt differently to us or weren't actually listening. Rediscovering the record now confirms their ignorance. Musically, Sense & Sensuality is a far broader collection than the group's preceding work, smashing through the limitations of a genre that was in its Informed by free form jazz, theatrical cabaret, new wave and art pop, it's a wild and unarguably fun ride instrumentally speaking, while lyrics speak to personal challenges and timely political issues.

Review: American songwriter and composer Patricia Barber's marked her breakthrough with Modern Cool, an album driven by her captivating take on The Doors' 'Light My Fire.' Her performance of the album at The Jazz Standard caught the attention of Blue Note's Bruce Lundvall and lead to a celebrated run of releases and international acclaim. Modern Cool became an audiophile favourite thanks to Jim Anderson's meticulous recording and Barber's sharp songwriting and artistry, and it still sounds super here as reissued by Impex on VR900-D2-pressed 180-gram vinyl. It's the perfect way to enjoy a real jazz classic.

Review: Recorded live at Brooklyn's Glasshaus in front of just 100 guests, Live at Glasshaus captures a one-night-only performance from Philadelphia-born vocalist Bilal, reinterpreting material drawn from a two-decade discography. Backed by an ensemble comprising his long-time creative circle, the set revisits early breakthroughs like 1st Born Second, cult favourite 'Love For Sale' (still never officially released), and later highlights from Airtight's Revenge and his collaborations on Common's Like Water for Chocolate and Resurrection. At 78 minutes, the session moves between stripped-down soul and expansive jazz-schooled improvisation, with appearances from Questlove and Common woven in. 'Soul Sista', 'All Matter' and 'Funky For You' get fresh treatment, while interludes lend a loose, intimate feel. First pressing gone; second underway with global shipping across 15 territories.

Review: Mike Mitchell is an American drummer from Dallas, Texas, who records as Blaque Dynamite. He plays across jazz, hip-hop and fusion and has worked with greats old and new like Erykah Badu, Herbie Hancock and Kamasi Washington. As a solo artist, he has dropped two albums in the last two years, and Stop Calling Me from 2023 is one that now makes it way to vinyl. It is a wild ride between intense jazz workouts that recall Sun Ra, smoky deep house that taps into Detroit and downbeat explorations like 'I'm Not Trippin'' that are densely layered, textural and infused with a new kind of soul.

Review: Los Angeles MC Blu reaches a reflective milestone with his latest, produced in full by Dallas-based August Fanon. Known for his cerebral delivery and dusty crate-digging beats, Fanon provides unfiltered soul loops - no drum programming, no frills - that frame Blu's verses with raw elegance. Across eleven tracks, Blu revisits themes of ageing, selfhood and faith, delivered in tight verses with a clarity that's unhurried but never static. 'Happy' enlists Kota The Friend and R.A.P. Ferreira for a loose meditation on gratitude; 'Simple', with Sene and Chester Watson, blends memory and melody with ease. On 'Love (1-4)', Blu assembles four different perspectives - Wyldeflowher, Geminelle, Yah-Ra and Lexxus - weaving them into a gospel-centred suite before Noveliss lands the closing verse. 'Bible' is stark and spoken, while 'Human' sees Homeboy Sandman and Asher Roth wrestle with vulnerability. Fashawn and Choosey close the set on 'Joy', trading lines like letters from a calmer future. The tone remains introspective but never heavy: even at its most spiritual, the record feels lived-in and warm. It's not a revival or reinvention - just a seasoned voice, quietly confident in its next chapter.

Review: Back in 1994, Reading-based band Blueboy released their first album for Sarah Records: Unisex. The LP, which is one of the great indie/jangle pop records of the 90s, stands the test of time thanks to mesmerizing songcraft. To celebrate its 30th anniversary the band got together in May 2024 to perform live at The Water Rats in London's Kings Cross. It was their first show in 25 years and thankfully someone had the foresight to record the set. Whilst not limited to songs from Unisex, the key numbers from it are on here: 'Self Portrait' is up there with anything by Pulp or The Smiths. And on 'The Joy Of Living' co-singer Keith Girdler has an air of The Only Ones' Peter Perrett about him. Plus the synth parts and cello make for stunning instrumentals and the lyrical directness is refreshing in an age of smoke and mirrors and metaphor.

Review: Released on June 28th, 2004, Afrodisiac marked a major shift in American r&b queen Brandy's sound as she moved away from longtime collaborator Rodney "Darkchild" Jenkins and embraced producers like Timbaland, Kanye West and Warryn Campbell. The record focused on Brandy's personal growth while addressing relationship woes and self-reflection in tracks like 'I Tried' and 'Who I Am.' The standout song, 'I Tried,' samples Iron Maiden's 'The Clansman' and features Brandy's most raw and emotional performance. The shift resonated with fans for its gritty, more relatable edge and remains her most well-received project.

Review: A heavyweight ensemble of drum & bass minds take on Break's most recent set of productions, pushing them deeper into system territory. The Bristol veteran revisits his own material alongside a dream team of remixers including Skeptical, Calyx, Mefjus and The Sauce, each adding distinct bite and tension to the originals. Alibi's flip of 'Headshot' is all murky propulsion and low-end snap, while L-Side draws out the yearning in 'Gunshot Love' with Liam Bailey's vocal laid over thick, heaving bass pressure. Charli Brix floats through Break's own icy rework of 'Lost', while SP:MC cuts through the dense, noir-streaked paranoia of Skeptical's 'Box Clever' edit. Clean but rough, emotive yet primed for damage, this is high-grade d&b from a cross-generational cast who know exactly how to thread vocals and subs without compromise.